Both dancers are aged only 20 or 21 at the most. I saw Viktoria Tereshkina's debut as Odette/Odile during the Kirov's tour to Manchester in April, and she was quite good. Both Tereshkina and Tkachenko danced Gamzatti during the tour, but I only saw Tereshkina's performance. I think I saw Tkachenko as one of the shades soloists in La Bayadere during this year's Mariinsky Festival, but I can't remember clearly.

And one, and two, and... No, toes turned in! When two historians set about teaching Nijinsky's 'difficult' steps to the Kirov, they faced a big challenge, says Jenny Gilbert of The Independent

Quote:

Ballet audiences aren't normally given to dishing out verbal abuse. But on the night of 29 May, 1913, the Theatre du Champs Elysees in Paris famously erupted in cat-calls and jeers. The occasion was the first night of Vaslav Nijinsky's two-act ballet Le Sacre du Printemps (The Rite of Spring), with music by Igor Stravinsky. The work ran for five more performances, then sank without trace. Stravinsky's phenomenal score went on to have a vibrant life in the concert hall. Nijinsky's mould-breaking choreography was - without apology - forgotten

Kirov Ballet looks to its noble bloodline By Clement Crisp for The Financial Times

St Petersburg. Greenand ochre facades glowingin the pearly light of a northern winter; spires flashing in summer; an imperial (and haunted) city, whose dancers incarnate in their manner something of its splendour of scale. Its history - under tsars and commissars - is reflected in the changing titles of its grandest theatre. Named after an empress, renamed after one of Stalin's henchmen, the Mariinsky Theatre, later the Kirov, is the Mariinsky again, and its ballet visits London to mark the tercentenary of Tsar Peter's creation of the city.

The Kirov Ballet - as it still calls itself on foreign tours - first came to London in 1961, heralded by the scandal of Nureyev's leap to freedom in Paris the week before.

ONE DOESN’T FREELY ASCRIBE pre-eminence to a single ballet company, but in the case of the Kirov it’s hard not to. Practically everything we know and love about 19th-century classical ballet comes from the Kirov. This is where The Sleeping Beauty and The Nutcracker were born, where enduring stagings of Swan Lake, Coppélia and Giselle were premiered. And this was home to some of the most famous names in dance: Petipa, Nijinsky, Pavlova, Fokine, Balanchine, Nureyev, Makarova and Baryshnikov

Maryinsky magic Having reclaimed its Tsarist name of Maryinsky, the Kirov Ballet, here for the summer, has now lovingly returned La Bayadère to its pre-Revolution glory, writes Nadine Meisner for The Independent

It must be summer, because the fabulous Kirov Ballet is back again - or, rather, the Maryinsky Ballet, even if the presenters, terrified of scaring off audiences with unfamiliarity, are clinging to the Soviet name. Indeed, the Maryinsky has not only reclaimed its Tsarist name, but is continuing to rediscover Russia's balletic history.

It brings to London the recent acquisitions of Nijinsky's legendary The Rite of Spring, and his sister Nijinska's overwhelming Les Noces, both created for Diaghilev's Ballets Russes, yet intensely right for the Maryinsky in their Russianness.

Nadine Meisner's article is published in "The Independent", while "The Times" of the 15th of July published Debra Craine's "New Steps for Old" . Looking back at the earlier mentioned article "Kirov Ballet Looks to Its Noble Bloodline" by Clement Crisp in "The Financial Times" of the 11th of July, I can not help wondering who on earth advises the FT on the captions under the photographs. The Crisp's article is illustrated with two photographs and both have wrong captions. The first one, "Makarova and Nureyev", features Nureyev with Alla Sizova. The second one, "Ayupova, Tsiskaridze and Ostrikovskaya", does not feature Tsiskaridze at all. The man in the centre is Danila Korsuntsev. I am really curious who wrote those captions?

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